146 research outputs found
About the Translation of the Poem by Gabriel Aresti “The House of my Father”
No full textIn this article, several versions of the poem “My father’s house” by Gabriel Aresti are analysed. The author studies in depth the theory and the practice of translation with the example of several translators. In the article, several specific examples of diverse translations by K. Gamsakhurdia, M. Tsvetaeva, V. Nabokov, J. Borges, etc, are quoted. At the end of his work, the author suggests his own version of the russian translation of the poem by Gabriel Aresti “My father’s house”
Borges educator: reaching the aesthetic fact within the educational field
No full textThis paper presents some guidelines to orient the teaching of literature in secondary education, derived from the analysis of the educational experience of Argentinian author Jorge Luis Borges. The main contribution from this author in pedagogic terms is its definition of “aesthetic fact”, a concept mentioned by him in several opportunities, epicenter of its work within the classroom. To achieve this, I propose three instances: first, reviewing the ties between Borges and the teaching profession throughout his life; second, identifying the main educational aspects associated with its concept of aesthetic fact; and third, assessing the impact of his pedagogic approaches through a literary intervention addressed to 9th grade students from a public school in the city of Bogota.Este trabajo presenta unas pautas para orientar la enseñanza de la literatura en la educación secundaria derivadas a partir del análisis del ejercicio docente del escritor argentino Jorge Luis Borges. El principal aporte de este autor en términos pedagógicos es su definición de hecho estético, un concepto que mencionó en varias oportunidades y que fue el epicentro de su trabajo en el aula con sus alumnos. Para el logro de lo anterior, se proponen tres momentos: revisar las relaciones con la enseñanza que tuvo Borges a lo largo de su vida, identificar los aspectos principales de su concepto de hecho estético y mirar los impactos de sus planteamientos a través del desarrollo de una intervención literaria escolar dirigida a estudiantes de grado noveno de una institución educativa pública de la ciudad de Bogotá.Magíster en Educación. Línea de Investigación: Lenguajes y LiteraturasMaestrí
Ficciones by Jorge Luis Borges: A Concoction of Post-human Wisdom
No full textJorge Luis Borges was an Argentine author, poet, essayist and philosopher who greatly influenced the Latin American Boom, a literary movement that arose in the latter half of the twentieth century wherein Latin American literature became highly popular all around the world. Julio Cortázar, Gabriel Garcia Marquez, Carlos Fuentes and Mario Vargas Llosa were some of the writers associated with the Boom Latinamericano. The influence of the then avant-garde ultraÃsmo movement that strongly influenced Borges and which he introduced to South American literary circles and which ultimately even influenced Marxist poetry can be spotted throughout his works. The movement advocated emphasis on stark intellectualism and experimentation which form an integral part of Borges’ writing. The indistinguishability of reality and fiction, author and writer, public persona and inner self are themes that resound in his labyrinthine works. Questions raised and mysteries developed in his stories never achieve a satisfactory answer or solution. The nature of his fiction represented the nature of the universe-enigmatic, unfathomable and inexplicable. Language is used as a tool by him to rewrite his own version of history, literature, mythology, reality and theology. He blurred the lines between fact and fiction, reality and hyperreality and even genres such as poetry and prose. His short stories are so intricately designed, allusive and symbolic that they are often called prose poems
Lilith: um monstro feminino em Jorge Luis Borges, Dante Gabriel Rossetti e Primo Levi
No full textThe study of monstrosity belongs to many fields of knowledge, as well as to various periods of analysis. Since the Ancient Times, philosophers, writers, jurists and other studious have been questioning the constitution of the monstrous figure and also its connection to Evil. Currently, many studies of classificatory content have been developed, towards establishing lists that divide the monsters, based on specific criteria and parameters. On the other hand, the basis of this work is the theory developed by Jeffrey Jerome Cohen in his article a cultura dos monstros: sete teses. The author proposes a different way to analyze the monster, one that allows us to bring him closer to the culture in which he has been created, through intrinsic links between both. Therefore, it becomes possible to develop a critical analysis of the monster, that has from this point on a strong reason to be, that could be social, cultural, among others. The chosen figure for this study is Lilith, described in the Jewish literature as Adam´s first wife. The main goal, in this paper, is that to analyze her in the legendary scope and also in the chosen artistic developments, both the literary and plastic ones. She will be analyzed in the work of Jorge Luis Borges, Primo Levi and Dante Gabriel Rossetti, according to Cohen´s theory. It is aimed to determine if Lilith, in the chosen works and under the applied analysis focus, affirms herself as a monster.O estudo da monstruosidade faz parte de vários campos do conhecimento, além de compreender diversos períodos de análise. Desde a Antiguidade, filósofos, literatos, juristas e outros estudiosos questionavam a constituição da figura monstruosa, assim como a sua relação com o Mal. Na Modernidade, vários estudos de teor classificatório foram desenvolvidos com o intuito de estabelecer listas que dividissem os monstros, tendo por base determinados critérios e parâmetros. Neste trabalho, por sua vez, o fundamento para o estudo da monstruosidade é a teoria desenvolvida por Jeffrey Jerome Cohen no artigo a cultura dos monstros: sete teses. Nele, Cohen propõe uma leitura do monstro que permite aproximá-lo da cultura em que foi criado, a partir de relações intrínsecas entre ambos. Dessa forma, torna-se possível a análise crítica do monstro, que passa a ter uma razão de ser, que pode ser social, cultural, entre outras. Nesse sentido, a figura escolhida para análise sob essa ótica foi Lilith, definida na mitologia judaica como a primeira mulher de Adão. O objetivo principal, então, é o de analisá-la no âmbito lendário, além de desdobramentos literários e plásticos dos quais ela faz parte. O recorte escolhido para esse estudo faz parte das obras de Jorge Luis Borges, Primo Levi e Dante Gabriel Rossetti, lidos de acordo com a teoria de Cohen. Intentase determinar se Lilith, nas obras escolhidas e sob esse foco de análise, afirma-se como um monstro
"NIRE AITAREN ETXEA DEFENDITUKO DUT" ARESTIREN POEMAREN ITZULPENA DELA ETA
No full textEn aquest article, s'analitzen diverses versions del poema de Gabriel Aresti «La casa del meu pare». L’autor aprofundeix en la teoria i la pràctica de la traducció amb l’exemple de diversos traductors. En l’article se citen exemples concrets de diverses traduccions de K. Gamsakhurdia, M. Tsvetaeva, V. Nabokov, J. Borges, etc. Per finalitzar, l’autor proposa la seva versió de traducció al rus del poema de Gabriel Aresti «La casa del meu pare».In this article, several versions of the poem “My father’s house” by Gabriel Aresti are analysed. The author studies in depth the theory and the practice of translation with the example of several translators. In the article, several specific examples of diverse translations by K. Gamsakhurdia, M. Tsvetaeva, V. Nabokov, J. Borges, etc, are quoted. At the end of his work, the author suggests his own version of the russian translation of the poem by Gabriel Aresti “My father’s house”.En este artículo se analizan varias versiones del poema de Gabriel Aresti «La casa de mi padre». El autor profundiza en la teoría y práctica de la traducción con el ejemplo de varios traductores. En el artículo se citan ejemplos concretos de diversas traducciones de K. Gamsakhurdia, M. Tsvetaeva, V. Nabokov, J. Borges etc. Al término de su trabajo el autor propone su propia versión de traducción al ruso del poema de Gabriel Aresti «La casa de mi padre».Arestiren “Nire aitaren etxea” poemaren bi itzulpen desberdin hartuta, errusieraz, idazlea itzulpengintzaren teorian eta praktikan murgiltzen da, zenbait maisu-itzultzaileren iritzia eta praxia ekarriz. Honela Gamsakhurdiak, Tsvetaevak, Borgesek, Nabokovek eta bestek itzulpengintzari buruz teorizatu zutena islatzen da testuan. Itzulpen zehatz batzuen nondik norakoa ere irakur dezakegu. Amaitzeko, egileak Arestiren poema ezagunaren itzulpen propioa eskaintzen du
К переводу стихотворения г. Арести «defenderé la casa de mi padre»
No full textThis article seeks to discuss whether or not the reality of life in a West Rio the Janeiro favela, as depicted in the 2002 film City of God, has been manipulated. With this discursive proposition as starting point, the essay will attempt to contextualise the way the plot was rendered, and to question the degree to which it resembles reality, as well as its adaptation to the gangster genre which gives rise to the feeling that, within a real context, this is a 'fabricated story': what international audiences would see as the exotic world of the favela.En este artículo se analizan varias versiones del poema de Gabriel Aresti «La casa de mi padre». El autor profundiza en la teoría y práctica de la traducción con el ejemplo de varios traductores. En el artículo se citan ejemplos concretos de diversas traducciones de K. Gamsakhurdia, M. Tsvetaeva, V. Nabokov, J. Borges etc. Al término de su trabajo el autor propone su propia versión de traducción al ruso del poema de Gabriel Aresti «La casa de mi padre».En aquest article, s'analitzen diverses versions del poema de Gabriel Aresti «La casa del meu pare». L'autor aprofundeix en la teoria i la pràctica de la traducció amb l'exemple de diversos traductors. En l'article se citen exemples concrets de diverses traduccions de K. Gamsakhurdia, M. Tsvetaeva, V. Nabokov, J. Borges, etc. Per finalitzar, l'autor proposa la seva versió de traducció al rus del poema de Gabriel Aresti «La casa del meu pare».Arestiren "Nire aitaren etxea" poemaren bi itzulpen desberdin hartuta, errusieraz, idazlea itzulpengintzaren teorian eta praktikan murgiltzen da, zenbait maisu-itzultzaileren iritzia eta praxia ekarriz. Honela Gamsakhurdiak, Tsvetaevak, Borgesek, Nabokovek eta bestek itzulpengintzari buruz teorizatu zutena islatzen da testuan. Itzulpen zehatz batzuen nondik norakoa ere irakur dezakegu. Amaitzeko, egileak Arestiren poema ezagunaren itzulpen propioa eskaintzen du.In this article, several versions of the poem "My father's house" by Gabriel Aresti are analysed. The author studies in depth the theory and the practice of translation with the example of several translators. In the article, several specific examples of diverse translations by K. Gamsakhurdia, M. Tsvetaeva, V. Nabokov, J. Borges, etc, are quoted. At the end of his work, the author suggests his own version of the russian translation of the poem by Gabriel Aresti "My father's house"
К переводу стихотворения г. Арести «defenderé la casa de mi padre»
No full textThis article seeks to discuss whether or not the reality of life in a West Rio the Janeiro favela, as depicted in the 2002 film City of God, has been manipulated. With this discursive proposition as starting point, the essay will attempt to contextualise the way the plot was rendered, and to question the degree to which it resembles reality, as well as its adaptation to the gangster genre which gives rise to the feeling that, within a real context, this is a 'fabricated story': what international audiences would see as the exotic world of the favela.En este artículo se analizan varias versiones del poema de Gabriel Aresti «La casa de mi padre». El autor profundiza en la teoría y práctica de la traducción con el ejemplo de varios traductores. En el artículo se citan ejemplos concretos de diversas traducciones de K. Gamsakhurdia, M. Tsvetaeva, V. Nabokov, J. Borges etc. Al término de su trabajo el autor propone su propia versión de traducción al ruso del poema de Gabriel Aresti «La casa de mi padre».En aquest article, s'analitzen diverses versions del poema de Gabriel Aresti «La casa del meu pare». L'autor aprofundeix en la teoria i la pràctica de la traducció amb l'exemple de diversos traductors. En l'article se citen exemples concrets de diverses traduccions de K. Gamsakhurdia, M. Tsvetaeva, V. Nabokov, J. Borges, etc. Per finalitzar, l'autor proposa la seva versió de traducció al rus del poema de Gabriel Aresti «La casa del meu pare».Arestiren "Nire aitaren etxea" poemaren bi itzulpen desberdin hartuta, errusieraz, idazlea itzulpengintzaren teorian eta praktikan murgiltzen da, zenbait maisu-itzultzaileren iritzia eta praxia ekarriz. Honela Gamsakhurdiak, Tsvetaevak, Borgesek, Nabokovek eta bestek itzulpengintzari buruz teorizatu zutena islatzen da testuan. Itzulpen zehatz batzuen nondik norakoa ere irakur dezakegu. Amaitzeko, egileak Arestiren poema ezagunaren itzulpen propioa eskaintzen du.In this article, several versions of the poem "My father's house" by Gabriel Aresti are analysed. The author studies in depth the theory and the practice of translation with the example of several translators. In the article, several specific examples of diverse translations by K. Gamsakhurdia, M. Tsvetaeva, V. Nabokov, J. Borges, etc, are quoted. At the end of his work, the author suggests his own version of the russian translation of the poem by Gabriel Aresti "My father's house"
Jovens na Metrópole: etnografias de circuitos de lazer, encontro e sociabilidade
No full textMAGNANI, José Guilherme Cantor (Org.); SOUZA, Bruna Mantese de (Org.). Jovens na Metrópole: etnografias de circuitos de lazer, encontro e sociabilidade. São Paulo: Ed. Terceiro Nome, 2007.Organizado por Bruna Mantese de Souza eJosé Guilherme Cantor Magnani Jovens na Me-trópole: etnografias de circuito de lazer, encontro esociabilidade é o resultado de pesquisas origina-das na disciplina “pesquisa de campo em antro-pologia” ministrada pelo por Magnani na USPem 2003-2004 somados a trabalhos adicionaisde reflexão e elaboração do Núcleo de Antro-pologia Urbana (NAU). O livro é compostopor: prefácio (Hermano Vianna), introdução(José Guilherme Cantor Magnani), dez etno-grafias (Bruna Mantese de Souza; Daniela doAmaral Alfonsi; Adla Bourdoukan; Ana LuizaMendes Borges e Clara de Assunção Azevedo;Fernanda Noronha, Paula Pires e Renata To-ledo; Ariana Rumstain; Carolina de Camar-go Abreu; Camila Iwasaki; Márcio Macedo;Alexandre Barbosa Pereira), conclusão (JoséGuilherme Cantor Magnani) e posfácio (LuizHenrique de Toledo)
Representación irónica de grandeza y pequeñez en relatos de hombres y de mujeres
No full textResumen: Con el fin de explorar nuevas formas en las cuales algunasautoras logran una inversión irónica y feminista de lavaloración social hacia lo grande y lo pequeño, se analizanalgunos aspectos de cuatro relatos hispano- americanos,comparando el cuento de María Luisa Bombal, «Trenzas»(1940), con «Pierre Menard, autor del «Quijote» (1939), deJorge Luis Borges, y el relato de Clarice Lispector, «La legiónextranjera» (1971), con «Muerte constante más allá del amor»(1970), de Gabriel García Márquez. Se emplean las categoríaspara el análisis del discurso irónico planteados por OswaldDucrot en Polifonía y argumentación.Palabras clave: Ironía, Análisis del discurso, Discurso literario,Crítica literaria feminista, Literatura hispanoamericana,PolifoníaAbstract: In order to explore new ways in which some women authorsachieve an ironic and feminist inversion of the social valuationof big and small as dimensions, some aspects of four LatinAmerican short narratives are analyzed, comparing the storyby María Luis Bombal, braids (1940) to Jorge Luis Borges’«Pierre Menard, author of Quijote» (1939), and ClariceLispector’s « The Foreign Legion» (1971) to Gabriel GarcíaMárquez’s «Constant Death beyond Love» (1970). Thecategories for the analysis of ironic discourse are taken fromOswald Ducrot’s Poliphony and Argumentation.Key words: Irony, discourse analysis, literary discourse,feminist literary criticism, Latina American literatura,poliphon
Representación irónica de grandeza y pequeñez en relatos de hombres y de mujeres
No full textCon el fin de explorar nuevas formas en las cuales algunas autoras logran una inversión irónica y feminista de la valoración social hacia lo grande y lo pequeño, se analizan algunos aspectos de cuatro relatos hispano- americanos, comparando el cuento de María Luisa Bombal, «Trenzas» (1940), con «Pierre Menard, autor del «Quijote» (1939), de Jorge Luis Borges, y el relato de Clarice Lispector, «La legión extranjera» (1971), con «Muerte constante más allá del amor» (1970), de Gabriel García Márquez. Se emplean las categorías para el análisis del discurso irónico planteados por Oswald Ducrot en Polifonía y argumentación.Abstract: In order to explore new ways in which some women authors achieve an ironic and feminist inversion of the social valuation of big and small as dimensions, some aspects of four Latin American short narratives are analyzed, comparing the story by María Luis Bombal, braids (1940) to Jorge Luis Borges’ «Pierre Menard, author of Quijote» (1939), and Clarice Lispector’s « The Foreign Legion» (1971) to Gabriel García Márquez’s «Constant Death beyond Love» (1970). The categories for the analysis of ironic discourse are taken from Oswald Ducrot’s Poliphony and Argumentation
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